The Sitges – International Fantastic Film Festival of Catalonia’s Noves Visions (New Visions) category will be screening a varied and innovative selection of films that that will bring together, both in the fiction and the documentary sections, titles by acclaimed directors and more emergent, groundbreaking proposals. This way the Festival, which will be held from October 4th to the 14th, wants to contribute to establishing an intergenerational commitment with talent as the only premise.

Im Sang-soo, one of the most important names in Korean cinema, will be in charge of kicking off Noves Visions with The Taste of Money, a contemporary gothic tale along the lines of his previous work, The Housemaid, which was screened at Sitges 2010. And the section’s closing film will also have an unfailing signature, Alain Resnais, the pope of European filmmakers, who demonstrates that he is still in excellent shape with Vous n’avez encore rien vu, a vital film where he once again pokes fun at the relationship between reality and fiction.

And in the fiction section, precisely, Sitges 2012’s Noves Visions program will include directors like Takashi Miike (with his extraordinary musical For Love’s Sake), Kim Ki-duk (Pieta), Guy Maddin (Keyhole) and Lou Ye (Mystery), as well as other proposals that have been big hits at festivals from around the world, like Alejandro Fadel’s Los Salvajes, (very celebrated at the Cannes’s Critics Week); Kim Nguyen’s Rebelle / War Witch (one of the outstanding films on the list of winners at the Berlinale); or the science fiction movie with minimalist tinges The Fourth Dimension, a group project with the participation of the ineffable Harmone Korine.

Also, in the documentary section, there will be outstanding, long-awaited works like Rodney Ascher’s Room 237 (a huge phenomenon at Sundance and Cannes); Leonora Carrington, Javier Martín-Domínguez’s surrealistic game; Me@ the Zoo, Chris Mourkabel and Valerie Veatch’s controversial piece; and The conspiracy, a disturbing investigation about the collective paranoias of the new millennium.

Noves Visions will also have sections dedicated to the discovery of filmmakers committed to a totally independent and self-financed format, as is the case of Borja Echevarría with Qué Pelo más Guay, and unsettling, clearly mischievous proposals like David Manauli’s reinterpretation of La leggenda di Kaspar Hauser and Paul China’s enigmatic Crawl.